As with her previous two articles on the subject (available for review here and here), Ms. Pavlowa chooses two figures to focus upon. In this case, she reviews the Side Salute (figure A) and Finale (figure B). Ms. Pavlowa once again demonstrates by herself as, per previous lessons, the gentleman and the lady execute identical footwork on identical feet. For the first time, Ms. Pavlowa briefly discusses the lead/follow dynamic of this unusual dance, stating:

“As in the case with both the Hesitation Waltz and the Tango, the selection of figures in the Russian Gavotte is left largely to the discretion of the masculine partner. There is no set rule for their introduction, but if you use caution and move only from one pose, or step, to another which can be accomplished with ease and without awkwardness, you will have no great difficulty.”

Which is, I think, to say, that the lead is largely visual.

The article was provided by Chronicling America. The featured image, which pictures Charlie Chaplin and Anna Pavlowa (designated “Pavlova” in this particular photograph) in 1922, was provided by Wikimedia Commons. It is currently in the public domain in the United States.